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He also writes the men's Critical Shopper column for Styles.
He previously worked for Vibe magazine, and has written for the Village Voice, Spin, XXL and more.
(Duke Ellington and Billy Strayhorn famously scored “Anatomy of a Murder.”) With help from a stellar, acoustic-jazz quartet, Noah covers pieces from the old movies’ soundtracks, as well as some original compositions inspired by them.
“For the Man with the Golden Arm” — an outtake left off the album, which was released on Friday to Newvelle Records subscribers — falls into the latter category; the saxophonist channels the circumspection and the longing of the 1955 film’s original soundtrack into a watery, wandering melody.
(The band’s only substantial departure, a side album recorded under the name Foxboro Hot Tubs, leaned a little more heavily on garage rock, but otherwise didn’t fall especially far from the tree.) Armstrong first met Jones when they both made guest appearances with Stevie Wonder’s band; when Armstrong conceived of the Everly Brothers tribute, he brought her aboard. The Chapin Sisters released a full album’s worth, “A Date With the Everly Brothers,” earlier this year, and artists from the Beatles on have tried to match the duo’s preternaturally close harmonies.
Paul Simon and Art Garfunkel were early graduates of the Everly academy (they would later cover “Bye Bye Love” on “Bridge Over Troubled Water”), and Nick Lowe and Dave Edmunds tacked an EP of Everly covers onto the end of the 1980 Rockpile album “Seconds Of Pleasure.” But Armstrong, a fan of the Everlys since childhood, didn’t choose to dive into the covers pool by re-recording any of the duo’s huge pop-country hits, most of which were written by Boudleaux and Felice Bryant.
Jones, though she came to fame as a pop-jazz vocalist, has always maintained an interest in country music, principally through her side band the Little Willies.
From the first track, the traditional “Roving Gambler” (also recorded by Simon and Garfunkel), the remakes work in compelling ways.
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As the not-bad pun of the title suggests, “Foreverly” is an homage to Don and Phil Everly, who, as the Everly Brothers, racked up more than a dozen Top Ten hits between 19, and influenced a generation of rock-and-rollers in the process.
While the “Under the Covers” series is a natural extension of the solo work Hoffs and Sweet are known for, “Foreverly” seems like a surprising departure.It’s almost all Potter, overdubbed on top of himself, before the dubs drop out and he launches into one of his characteristically herculean solos.